DOCSLIB.ORG

The Memory of the First World War at Its Centenary in Britain: a Study of War Memory at National, Local and Individual Levels

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Memory of the First World War at Its Centenary in Britain: a Study of War Memory at National, Local and Individual Levels 1 The Memory of the First World War at its Centenary in Britain: A Study of War Memory at National, Local and Individual Levels Olivia Smith A thesis submitted for the degree of Masters University of Essex Department of History Year of Award (December 2019) 2 Contents Page Abstract……………………………………………………………………………………………………………………………… P.3 Introduction…………………………………………………………………………………………………………………………P.4 Chapter 1 First World War Cultural Memory From 1914-2014…………………………………………… P.16 Chapter 2 State Events and Public Art Projects…………………………………………………………………… P.33 Chapter 3 Heritage Lottery Fund and The Role Of Communities………………………………………… P.64 Chapter 4 How Do You Remember the War? A Study on Individual War Memory……………… P.80 Conclusion………………………………………………………………………………………………………………………… P.111 Appendix…………………………………………………………………………………………………………………………… P.116 Bibliography……………………………………………………………………………………………………………………… P.120 Word Count: 29,794 Abstract 3 This research project examines the commemoration of the First World War Centenary (2014- 2018) in Britain and assess the relationship of between centenary events and cultural memory of the war. Since the Armistice in 1918, the memory of the First World War has been reshaped throughout the past century and the pity of war narrative, as told by poets, of trench warfare that amassed in thousands dead, is the dominant commonly held view. The centenary can be perceived as a unique modern platform that could change these dominant narratives, and this research project will ask, did it? By looking at commemoration from a national perspective through the British government marking the outbreak of war in 2014, the Battle of the Somme in 2016, the Battle of Passchendaele in 2017 and Armistice in 2018 and public art projects from 1418- NOW, to see how they acted as agents of war memory and to what extent they modernised or retained traditional commemoration. The Heritage Lottery Fund funded communities across Britain to commemorate the centenary in their own way. It is here we see the ‘world’ of First World War being acknowledged and what impact this has within the dominant popular memory. A study on individual memory investigated the popular responses to topics involving the centenary, the current battlefields and the future of commemoration. The consistent resonance of family connections to the First World War has shown to be a motivating factor for public involvement in the centenary and how modern media brought the topic of the First World War to an audience that may have not been aware of a centennial national commemoration. This project will assess if the centenary distorted the dominant popular perceptions of the First World War or if it retained them. Introduction 4 In 2013 the ‘No Glory’ campaign entered the British news as they campaigned against the British government’s choice of narrative by which they would commemorate the centenary of the First World War. High profile celebrities and anti-war activists raised concerns that the ‘war will be presented as something glorious and part of our national heritage’ because they believed the First World War to be ‘a total disaster that was unnecessary and destroyed a generation’.1 This was only the beginning of controversies that were to surround British plans to mark the centenary. As Andrew Murrison the British Special Representative for Centenary Commemorations, met with his German counterpart in 2013, it was revealed that Germany wanted a ‘less declamatory tone about who was responsible for the conflict and greater acknowledgement of their shared losses’.2 It is no surprise that historians of the First World War also criticised the British government in their choice of centenary narrative. Their concerns were that too much focus was being placed on ‘British defeats and the carnage and futility of the war’3 because the British government wanted to avoid ‘upsetting’ the Germans. Revisionist and military historian Gary Sheffield claimed the government’s centenary planning was late in comparison to its Commonwealth partners Australia and New Zealand and argued against the government’s plans that appeared to focus on the defeats of the First World War and largely ignoring the success and victory of 1918. 1 Ben Quinn. Anti-War Activists Battle To Get Their Voices Heard in WW1 Centenary Events, The Guardian Sept 2013, https://www.theguardian.com/world/2013/sep/08/anti-war-activists-ww1-centenary (Accessed 2 August 2019) 2 Michael Roper and Rachel Duffett. Family Legacies in the Centenary: Motives for First World War Commemoration Among British and German Descendants, History & Memory, Volume 30, Number 1, Spring / Summer 2018, p.85. 3 Jasper Coppering. Historians Complain Government’s WW1 Commemoration ‘Focuses on British Defeats’, The Telegraph, https://www.telegraph.co.uk/history/britain-at-war/10037507/Historians-complain- Governments-WW1-commemoration-focuses-on-British-defeats.html (Accessed 2 August 2019) 5 Military historian Hew Strachan voiced his concerns of the centenary turning into ‘Remembrance Sunday writ large’,4 in January 2014 the then Education Secretary Michael Gove contributed to the concerns over the centenary by stating that the Left-Wing and Blackadder Myths of the First World War ‘belittle’ Britain and ensure Germany avoids blame. Gove justifies his argument that the First World War was a ‘just war’ against German aggression, whilst criticising fictional media such as Oh! What a Lovely War, The Monocled Mutineer and Blackadder insisting they make the public believe the war is a ‘misbegotten shambles’. Gove stressed how our contemporary understanding of the war has been ‘overlaid by misunderstandings and misrepresentations’5 which led Lucy Noakes to conclude that Gove was ‘weaponizing cultural memory’ in a political attack on the Left and reiterating the viewpoints of the politicians in 1918 ‘who favoured the celebration of victory over the commemoration of the dead’.6 Despite these conflicting views of how the First World War centenary should be perceived, it was widely agreed that the first industrialised, globalised war had to be commemorated on a grand scale, to acknowledge its profound impact on the United Kingdom then and now. The centenary could also be perceived as a part of a wider process of looking back at the history of the First World War. This Research Project will examine the commemoration of the centenary in Britain between 2014-2018 in order to consider the various ways that the war was represented and the inter-relationship between events and wider cultural memory of the war. 4 Ben Quinn. Anti-War Activists Battle To Get Their Voices Heard in WW1 Centenary Events, The Guardian, https://www.theguardian.com/world/2013/sep/08/anti-war-activists-ww1-centenary (Accessed 2 August 2019) 5 Tim Shipman. Michael Gove Blasts ‘Blackadder Myths’ about the First World War Spread by Television Sit-Coms and Left Wing Academics, Daily Mail https://www.dailymail.co.uk/news/article- 2532923/Michael-Gove-blasts-Blackadder-myths-First-World-War-spread-television-sit-coms-left-wing- academics.html (Accessed 2 August 2019) 6 Noakes, Lucy. Centenary, in: 1914-1918-online. International Encyclopaedia of the First World War, ed. by Ute Daniel, Peter Gatrell, Oliver Janz, Heather Jones, Jennifer Keene, Alan Kramer, and Bill Nasson, issued by Freie Universität Berlin, Berlin 2019-06-03. DOI: 10.15463/ie1418.11369. (Accessed 20 August 2019) 6 This project will explore whether the centenary created an awareness and connection to the history of the First World War which may not have existed previously. One example of this was ‘A Nations Thank You- The People’s Procession’ which saw 10,000 ballot chosen people march through London to the Cenotaph to mark the centenary of the signing of Armistice in 2018. Each individual had a reason to be there, from the two individuals who remembered their great- grandfathers, with one having died two weeks before the Armistice in Flanders7 and the other simply wanting to honour his memory for ‘what he did for our freedom’.8 Others remembered a relative’s experience: ‘I’m really here to honour the courage of my grandmother. She was obviously traumatised and remained a widow for the rest of her life’9 and not forgetting the ‘emotional’ pride from the members of the public who marched wearing relatives’ medals. As the First World War is out of living memory in the United Kingdom, these events demonstrate the power of the cultural memory of the war as it retains its resonance amongst some people in society. The People’s Procession is just one example of the vast number of centenary events organised around the country and is a good example demonstrating some of the complexities underpinning why people wanted to be a part of this national centenary. The many reasons for this involvement will be explained later on in the project. Methodology This project will examine representations of the war at three different levels, focussing on national, community and individual events and perspectives. Before exploring these, the methodology used and the approaches of cultural and popular memory of the First World War 7 Ali Gibson, Thousands March In 'People's Procession' To Honour War Dead, https://www.forces.net/news/thousands-march-peoples-procession-honour-war-dead (Accessed 8 February 2019) 8Jackson, Marie. Remembrance Day: Pride and awe at the People's Procession, BBC News https://www.bbc.co.uk/news/uk-46172641 (Accessed 8 February 2019) 9 Ibid 7 will be discussed. Jay Winter summarises cultural memory as ‘how men and woman make sense of the world in which they live’10 whilst Bart Ziino explains how ‘narratives attached to the First World War are not static or agreed, but are subject to constant contestation, and change over time’.11 As First World War British cultural memory tends to privilege literary and artistic representations of the past, Ziino also addresses how ‘a selection of materials forms a specific understanding of the First World War’12 and whilst these exact materials will be explored in the next chapter, these specific representations of memory which have been formulated since the signing of Armistice have shaped present day understanding of the First World War.
Load more

Recommended publications
  • The Oxford Democrat
    The Oxford Democrat. NUMBER 24 VOLUME 80. SOUTH PARIS, MAINE, TUESDAY, JUNE 17, 1913. where hit the oat "Hear Hear The drearily. "That's you look out for that end of the business. to an extent. low Voted Out the Saloons called ye! ye! poll· D. *ΆΚΚ. increase the aupply quite They he said. on | are now closed." Everyone drew a aigb nail on the head," "Mouey. ▲11 I want you to do 1b to pass this AMONG THE FARMERS. Some Kansas experiment· show an in- The following extract from λ lettei Auctioneer, DON'T HURRY OR WORRY of and went borne to aopper, ex- the mean and dirty thing that can here note." Lictjnsed crease after a crop of clover was turned 'rom Mrs. Benj. H. Fiab of Santa Bar relief, — who ate theirs world—that's «"»«· At Meals Follows. TH* cept tbe election board, the best man In the "Colonel Tod hunter," replied tlie »IU>. Dyspepsia "SPKED PLOW." under. The yield of corn was Increased >ara, Calif., may be of interest bott whip âû0TH and oat of pail· and boxes, and afterwards Thurs." "the Indorsement and the col- Moderate- 20 bushel· an acre, oats 10 bushels, rom the temperance and tbe suffrage Colonel the trouble. banker, Tera» I went to A serene mental condition and time began counting votes. aleep other man's mon- a Correspondence on practical agricultural topics potatoes 30 bushel*. itand point. "Ifs generally the lateral make this note good, and it's to chow your food is more la bearing them count. thoroughly aollcHed.
    [Show full text]
  • Statistical Yearbook 2019
    STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema
    [Show full text]
  • 'Music and Remembrance: Britain and the First World War'
    City Research Online City, University of London Institutional Repository Citation: Grant, P. and Hanna, E. (2014). Music and Remembrance. In: Lowe, D. and Joel, T. (Eds.), Remembering the First World War. (pp. 110-126). Routledge/Taylor and Francis. ISBN 9780415856287 This is the accepted version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/16364/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] ‘Music and Remembrance: Britain and the First World War’ Dr Peter Grant (City University, UK) & Dr Emma Hanna (U. of Greenwich, UK) Introduction In his research using a Mass Observation study, John Sloboda found that the most valued outcome people place on listening to music is the remembrance of past events.1 While music has been a relatively neglected area in our understanding of the cultural history and legacy of 1914-18, a number of historians are now examining the significance of the music produced both during and after the war.2 This chapter analyses the scope and variety of musical responses to the war, from the time of the war itself to the present, with reference to both ‘high’ and ‘popular’ music in Britain’s remembrance of the Great War.
    [Show full text]
  • Film Reviews Jonathan Lighter
    Film Reviews Jonathan Lighter Lebanon (2009) he timeless figure of the raw recruit overpowered by the shock of battle first attracted the full gaze of literary attention in Crane’s Red Badge of Courage (1894- T 95). Generations of Americans eventually came to recognize Private Henry Fleming as the key fictional image of a young American soldier: confused, unprepared, and pretty much alone. But despite Crane’s pervasive ironies and his successful refutation of genteel literary treatments of warfare, The Red Badge can nonetheless be read as endorsing battle as a ticket to manhood and self-confidence. Not so the First World War verse of Lieutenant Wilfred Owen. Owen’s antiheroic, almost revolutionary poems introduced an enduring new archetype: the young soldier as a guileless victim, meaninglessly sacrificed to the vanity of civilians and politicians. Written, though not published during the war, Owen’s “Strange Meeting,” “The Parable of the Old Man and the Young,” and “Anthem for Doomed Youth,” especially, exemplify his judgment. Owen, a decorated officer who once described himself as a “pacifist with a very seared conscience,” portrays soldiers as young, helpless, innocent, and ill- starred. On the German side, the same theme pervades novelist Erich Maria Remarque’s All Quiet on the Western Front (1928): Lewis Milestone’s film adaptation (1930) is often ranked among the best war movies of all time. Unlike Crane, neither Owen nor Remarque detected in warfare any redeeming value; and by the late twentieth century, general revulsion of the educated against war solicited a wide acceptance of this sympathetic image among Western War, Literature & the Arts: an international journal of the humanities / Volume 32 / 2020 civilians—incomplete and sentimental as it is.
    [Show full text]
  • 'Art of a Second Order': the First World War from the British Home Front Perspective
    ‘ART OF A SECOND ORDER’ The First World War From The British Home Front Perspective by RICHENDA M. ROBERTS A Thesis Submitted to The University of Birmingham For The Degree of DOCTOR OF PHILOSOPHY Department of Art History, Film and Visual Studies School of Languages, Art History and Music College of Arts and Law The University of Birmingham September 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract Little art-historical scholarship has been dedicated to fine art responding to the British home front during the First World War. Within pre-war British society concepts of sexual difference functioned to promote masculine authority. Nevertheless in Britain during wartime enlarged female employment alongside the presence of injured servicemen suggested feminine authority and masculine weakness, thereby temporarily destabilizing pre-war values. Adopting a socio-historical perspective, this thesis argues that artworks engaging with the home front have been largely excluded from art history because of partiality shown towards masculine authority within the matrices of British society. Furthermore, this situation has been supported by the writing of art history, which has, arguably, followed similar premise.
    [Show full text]
  • Mud Blood and Futility RUAE
    PASSAGE 1 The passage is taken from the introduction to Peter Parker’s book “The Last Veteran”, published in 2009. The book tells the life story of Harry Patch, who fought in the First World War, and eventually became the last surviving soldier to have fought in the trenches. He died in 2009, aged 111. Mud, Blood and Futility At 11 a.m. on Monday 11 November 1918, after four and quarter years in which howitzers boomed, shells screamed, machine guns rattled, rifles cracked, and the cries of the wounded and dying echoed across the battlefields of France and Belgium, everything suddenly fell quiet. A thick fog had descended that 5 morning and in the muffled landscape the stillness seemed almost palpable. For those left alive at the Front – a desolate landscape in which once bustling towns and villages had been reduced to piles of smoking rubble, and acre upon acre of woodland reduced to splintered and blackened stumps – there was little cause for rejoicing. The longed-for day had finally arrived but most 10 combatants were too enervated to enjoy it. In the great silence, some men were able to remember and reflect on what they had been through. Others simply felt lost. The war had swallowed them up: it occupied their every waking moment, just as it was to haunt their dreams in the future. There have been other wars since 1918 and in all of them combatants have 15 had to endure privation, discomfort, misery, the loss of comrades and appalling injuries. Even so, the First World War continues to exert a powerful grip upon our collective imagination.
    [Show full text]
  • World War I Photography As Historical Record Kimberly Holifield University of Southern Mississippi
    SLIS Connecting Volume 7 Article 9 Issue 1 SLIS Connecting Special Issue: British Studies 2018 Through the Lens: World War I Photography as Historical Record Kimberly Holifield University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/slisconnecting Part of the Archival Science Commons, Collection Development and Management Commons, Information Literacy Commons, Scholarly Communication Commons, and the Scholarly Publishing Commons Recommended Citation Holifield, Kimberly (2018) "Through the Lens: World War I Photography as Historical Record," SLIS Connecting: Vol. 7 : Iss. 1 , Article 9. DOI: 10.18785/slis.0701.09 Available at: https://aquila.usm.edu/slisconnecting/vol7/iss1/9 This Article is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in SLIS Connecting by an authorized editor of The Aquila Digital Community. For more information, please contact [email protected]. Through the Lens: World War I Photography as Historical Record By Kimberly Holifield British Studies Research Paper July 2016 Readers: Dr. Matthew Griffis Dr. Teresa Welsh Figure 1. Unidentified German Official Photographer in a Shallow Trench, June 1917 (Imperial War Museum Collection, www.iwm.org.uk) Figure 2. First World War Exhibit, Imperial War Museum (Holifield, 2016) “Photography takes an instant out of time, altering life by holding it still.”—Dorothea Lange Introduction However, a shift toward photography as historical Quotations fill vacant spaces along the walls of the record has slowly begun to make its way through the First World War exhibit at the Imperial War Museum world of scholarship. In their 2009 article, Tucker and of London.
    [Show full text]
  • A Christmas Truce-Themed Assembly 53
    TEACHING THE 1914 CHRISTMAS TRUCES Lesson, assembly and carol service plans to help RESOURCE PACK teachers commemorate the 1914 Christmas Truces for the centenary of World War 1 TABLE OF CONTENTS Activity Plans Key Stage 3/4 31 How to use these resources 4 Creating Truce Images to the track of ‘Silent Night’ 32 Art / Music Introduction: A hopeful bit of history 6 Interrupting the War 34 The Martin Luther King Peace Committee 8 English / Creative Writing Christmas Truces Powerpoint: Information for Teachers 11 Christmas Truce Street Graffiti 37 Section 1: The War 12 Art Section 2: Opposing the War 13 Section 3: Combat and Trench Warfare 13 Research Local Participants via Letters to Newspapers 38 Section 4: The December 1914 Christmas Truces 14 History Activity Plans Key Stage 2/3 17 What’s the Point of Christmas Today? 40 Introduction to the Christmas Truces 18 RE / Ethics / PSE History / Moral Reflection Court Martial 41 Writing a Letter Home 20 History / Ethics / PSE English / History Overcoming Barbed Wire 44 Christmas Truces Game 22 Art P. E. Perceptions and Images of the Enemy 45 The Handshake 23 Art / PSE / History Art / Literacy Truce Words: Dominic McGill 46 Multi-session: Christmas Truce Re-enactment 24 Art History / P. E. / Ethics / Music / Languages / Drama Shared Elements of the Truces 47 Christmas Cakes for the Truces 26 Modern Languages Cookery Christianity and World War 1 48 Learning about Countries in 1914 28 RE / History / Ethics Geography The Christmas Gift 30 Fighting or Football 51 Art / Literacy History 2 A Christmas Truce-Themed Assembly 53 A School Carol Service 55 Appendices 60 Appendix 1: Images 60 Appendix 2: Eyewitness Testimonies 62 Appendix 3: Further Resources for Teachers 64 Appendix 4: Multi - Lingual Resources 65 3 HOW TO USE THESE RESOURCES The purpose of this pack is to provide teachers with concrete lesson plans as well as pointers and ideas for developing their own ways of bringing elements of the 1914 Christmas Truces to their schools’ programme between 2014 and 2018.
    [Show full text]
  • Marlina the Murderer in Four Acts
    JANUARY 2019 MARLINA THE MURDERER IN FOUR ACTS “velveteen glamour and brilliant programming...” (The Guardian) “possibly Britain’s most beautiful cinema..” (BBC) JANUARY 2019 • ISSUE 166 www.therexberkhamsted.com 01442 877759 Mon-Sat 10.30-6.30pm Sun 4.30-5.30pm All-embracing, inclusive, diverse, International. More to come from somewhere else… ith no time for no doubt continue to be. posing as arty, So we will pro-actively go Wholy or worthy, we out and find them. These are are netting the best and most to be included in among the interesting new films from general popular releases, Europe and other countries which will also include CONTENTS throughout the year now documentaries and other there are more available to us interesting independent Films At A Glance 16-17 than has been for months. releases. So watch out for Rants & Pants 27 We will continue this until them and come. You will they dry up again. We are be surprised BOX OFFICE: 01442 877759 aware to have severely how diverse, neglected world cinema in exciting and Mon to Sat 10.30-6.30 2018, purely because the beautiful they Sun 4.30-5.30 releases available to us in the are, even the UK have been scarce and will brutal ones. SEAT PRICES Circle £9.50 FILMS OF THE MONTH Concessions/ABL £8.00 Back Row £8.00 Table £11.50 Concessions/ABL £10.00 Royal Box Seat (Seats 6) £13.00 Whole Royal Box £73.00 Matinees - Upstairs £5, Downstairs £6.50, Royal Box £10 Disabled and flat access: through the gate on High Street (right of apartments) Shoplifters (Japan) Dogman (Italy) Mon 7th 7.30pm, Tue 8th 2pm Mon 14th 7.30pm See page 13 See page 18 Director: James Hannaway 01442 877999 Advertising: Chloe Butler THE FOOD AND DRINK AND 01442 877999 Artwork: Demiurge Design ROCK AND ROLL TOUR 01296 668739 The Rex Tickets on sale 1 February.
    [Show full text]
  • Oh What a Lovely War Program
    OH WHAT A LOVELY WAR by Theatre Workshop, Charles Chilton and the members of the original cast Oh What a Lovely War was first performed at the Theatre Royal, Stratford East, London on 19 March 1963. The idea for a chronicle of the First World War, told through the songs and documents of the time, was given flesh and blood in Joan Littlewood’s Theatre Workshop, where every produc- tion was the fruit of close co-operation between writer, actor and director. The whole team participated in detailed research into the period and in the creative task of bringing their material to life in theatrical terms. There is one intermission of 15 minutes THE ‘SHARPSTERS’ COMPANY Kevin Bartz Anthony Vessels Bryan “Boots” Connolly Sean M. Cummings Willa Bograd Jeff Garland Sophia M. Guerrero-Murphy Dustin Harvey Kaitlyn Jaffke Will Lehnertz Holly Marks Roger Miller Kelly Oury Bryan C. Nydegger Leihoku Pedersen Jeff Schreiner Phoebe Piper Scott Sharp Meredith Salimbeni SONGS - ACT I Row, Row, Row – Company We Don’t Want To Lose You – Women Belgium Put the Kibosh on the Kaiser – Willa Bograd (& Kevin Bartz, Jeff Garland, Roger Miller) Are We Downhearted? – Kevin Bartz, Bryan “Boots” Connolly, Jeff Schreiner, Tony Vessels Hold Your Hand Out, Naughty Boy – Women I’ll Make A Man Of You – Leihoku Pedersen & Women We’re ‘ere Because We’re ‘ere – Kevin Bartz, Bryan “Boots” Connolly, Holly Marks, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Pack Up Your Troubles – Kevin Bartz, Bryan “Boots” Connolly, Roger Miller, Will Lehnertz, Jeff Schreiner, Anthony Vessels Hitchy Koo – Kelly Oury & Jeff Schreiner (Dancer) Heilige Nacht – Kevin Bartz, Sean M.
    [Show full text]
  • Researching Your Bristolian Ancestors in the First World War a Guide
    RESEARCHING YOUR BRISTOLIAN ANCESTORS IN THE FIRST WORLD WAR A GUIDE BRISTOL 2014 IN ASSOCIATION WITH BRISTOL & AVON FAMILY HISTORY SOCIETY WWW.BRISTOL2014.COM This guide to researching family history has been published as part of Bristol 2014, an extensive programme of activity marking the centenary of the start of the First World War. CONTENTS It has been researched and written by Eugene Byrne with the assistance of Geoff Gardiner of Bristol & Avon Family History Society. It is also available as a downloadable PDF from the Bristol 2014 website (www.bristol2014.com) along with a large-print version. Bristol 2014 is coordinated by Bristol Cultural Development Partnership. INTRODUCTION 5 The guide is provided free of charge thanks to the support of: THE BACKGROUND 6 Society of The First World War 6 Merchant Venturers Bristol’s Part in the War 8 The British Army in the First World War 10 Bristol’s Soldiers and Sailors 14 PREPARING TO RESEARCH 18 Rule 1: Find Out What You Already Have! 18 Thanks to Rebecca Clay, Ruth Hecht, Melanie Kelly, Amy O’Beirne, Sue Shephard, Zoe Steadman- Ideally You Need… 22 Milne and Glenys Wynne-Jones for proof-reading and commenting on drafts. What Am I Looking For? 23 Bristol 2014 is a partner in the First World War Partnership Programme (www.1914.org) RESEARCHING ONLINE 24 Starting Points 24 Genealogical Sites 24 War Diaries 25 Regimental Histories 26 Newspapers 26 Please note that Bristol 2014, Bristol Cultural Development Partnership and Bristol & Avon Family Women at War 27 History Society are not responsible for the content of external websites.
    [Show full text]
  • Britains Last Tommies Pdf, Epub, Ebook
    BRITAINS LAST TOMMIES PDF, EPUB, EBOOK Richard Van Emden | 384 pages | 29 Jun 2006 | Little, Brown Book Group | 9780349120126 | English | London, United Kingdom Britains Last Tommies PDF Book The book also features an outstanding collection of photographs taken of the veterans as soldiers during the war, together with recent images of almost all of them, taken at home, back on the Western Front or at the final veterans' reunion. The main theme from Schindler's List was used as the series' background score. Latest Releases Coming Soon Blog. You know the saying: There's no time like the present World War One Centenary. Wartime Memories Project One of the most profound books I have ever read -- it brought me to tears several times. Marlon Pytlovanciw rated it it was amazing Mar 05, Want to Read saving…. Community Reviews. Alex rated it really liked it Feb 16, Nicholas rated it really liked it Jan 18, Harrowing memories from the last of the surviving soldiers of the first world war. Settings Sign out. Rick rated it really liked it Dec 19, Search term:. British Broadcasting Corporation Home. Wonderful old men, the embers of a generation - like Harry Patch and Alfred Anderson, who was there for the famous Christmas ceasefire of - remember the fear, horror, the buddies who never came home, the biscuits and the bully beef. Original Title. It provides as a good a texture of the war and its conditions as one could ever hope for. Add to Basket. Tom Forsyth rated it it was amazing Dec 13, You don't want to look away in case, when you look back, it's gone.
    [Show full text]